Water: Our World October 13th, 2016 Pomerantz Hall Pearson Lakes Art Center

Purity Guaranteed Yotam HABER (composer) Through the Looking Glass Maggi PAYNE (visual artist)

Rose Bishop, flute Andrew Gentzsch, violin

Drip Jean AHN (composer) I want(ed) a tangled ocean with you Lindsey SCHOENEMAN (visual artist)

stereo fixed media

Ma mère Robert FLEISHER (composer) Nightlight I, II Dana O'MALLEY (visual artist)

Christina Craig Gentzsch, violoncello

Valuri Philip MANTIONE (composer) Cats in the Tub Eva REDAMONTI (visual artist)

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Toward the Other Shore Suzanne SORKIN(composer) Marítima Edna CANTORAL ACOSTA (visual artist)

Andrew Gentzsch, violin

Harbor Leonie ROESSLER (composer) I have a meal at Quarry Bay harbor front Teresa LEUNG (visual artist)

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Adrift Nina SHEKHAR (composer) it seems like peace/swim in peace Stephanie BAUER (visual artist)

Rose Bishop, flute Sponsors Motion Alondra VEGA-ZALDIVAR (composer) Blick Art Materials Pearson Lakes Art Center Splash Reenie CHARRIERE (visual artist) Crown Clinics Preucil School of Music The Englert Theatre Rossaza Lesson Studios Christina Craig Gentzsch, violoncello Hills Bank University of Iowa Arts Share Iowa Lakeside Laboratory University of Iowa Center for New Music MidWestOne Bank University of Iowa Community Credit Union Slough Joshua MARQUEZ (composer) Mop Salon University of Iowa School of Art and Art History Dysfunctional Infrastructure J. POUWELS (visual artist) Linda O’Malley University of Iowa School of Music Tyler Miller West Music Andrew Gentzsch, violin

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Performer Bios

Rose Bishop, flute

Victoria Rose Bishop holds the position of Adjunct Instructor of Flute at Culver-Stockton College in Canton, Missouri and plays piccolo with the Oneota Valley Orchestra. An active freelance musician in the region, she also regularly performs with the Southeast Iowa Symphony, the Muscatine Symphony and the Ottumwa Symphony and has appeared as a soloist with the Monmouth College Wind Ensemble. Ms. Bishop is a passionate educator and her students have won positions in prominent youth orchestras, attended prestigious summer programs and have placed well at state contests and competitions.

A native of Atlanta, Georgia, Victoria Rose Bishop received her Master of Arts Degree in Flute Performance from the University of Iowa and a Bachelor of Arts Degree from Georgia State University. At both institutions Rose played principal flute and piccolo in the University Symphony Orchestra and Symphonic Wind Ensembles. She has participated in master classes in the United States and abroad with several prominent flutists including Sarah Jackson, Walfrid Kujala, Angela Jones-Reus, Michel Bellavance, and Leone Buyse, among others. Her principal teachers include Nicole Esposito and Sarah Kruser Ambrose, with additional study with Jim GRIT Collaborative Walker. www.gritcollaborative.com @GRITCollab Andrew Gentzsch, violin

Andrew Gentzsch, a native of Iowa City, has led the University of Delaware Chamber Orchestra and the University of Iowa Symphony Orchestra. Mr. Gentzsch received music degrees from the University of Wisconsin-Madison studying with David Perry and the University of Delaware studying with Xiang Gao. While at the University of Delaware, Mr. Gentzsch performed the Bach Concerto for Two Violins with Professor Gao. Currently, Mr. Gentzsch is pursuing his D.M.A. at the University of Iowa studying with Scott Conklin, active in the UI Center for New Music as well as the UI String Quartet Residency Program. Mr. Gentzsch spent the summer of 2014 at the Round Top Summer Festival Institute.

Christina Craig Gentzsch, violoncello

Christina Gentzsch is a graduate from the University of Iowa with a Master of Arts degree in cello performance. She earned her Bachelor of Music degree in cello performance with Honors from Washburn University. Her teachers include Steven Elisha, Anthony Arnone, and Hannah Holman.

An active performer, Christina currently plays with orchestras around Eastern Iowa including Waterloo/Cedar Falls Symphony Orchestra, South East Iowa Symphony Orchestra, Ottumwa Symphony, Dubuque Symphony, and Orchestra Iowa. She performs often in pit orchestras for community theater productions. Christina is also a founding member of the Accipiter Quartet.

Throughout her career, Christina has been an active chamber music participant working with several different ensembles. She was an award winner in the Kansas Music Teacher's Association Solo Competition and toured around Honduras as principle cellist with the Washburn Symphony Orchestra. She has also participated in the Apeiron Research Forum for several years presenting research and performances of historical composers, as well as debuting works from new, contemporary composers. She has performed and worked with several well- known artists including Taylor Mac, The Kronos Quartet, and Rod Steward.

Composer and Visual Artist Bios (Alphabetical)

Edna Cantoral Acosta Edna Cantoral Acosta was born in Mexico City, 1976. She studied in Guadalajara, Jalisco, Mexico, where she currently works. In 1996 she obtained the Sogem diploma in literary creation. She undertook undergraduate studies in plastic arts at the University of Guadalajara. (1998- 2001). She took classes with artists and in the engraving workshop of Herculano Álvarez during the period between 2002-2003. She was granted a scholarship to study at the ENSAD, Paris, during the period from October 2004 to August 2005.

Marítima Maritime is a woman who is in the water, as part of the sea. The lighthouse illuminates the landscape as her guide. The artwork is acrylic on wood, silicone, a paper ship. Written in the paper boat there is a fragment of a poem by Alejandra transcendence and perfection. Through the practice of the six paramitas, one can Pizarnik,(argentine poet 1936-1972). In the back of the artwork is written the cross over from the shore of this world (the shore of suffering), to the shore of translation in to English by Olivia Cantoral. enlightenment. This concept served as the inspiration for my solo violin work, Toward the Other Shore. At the heart of this composition is the idea of transcendence or “going beyond”. My desire is for the listener to feel pulled Jean Ahn “toward the other shore”, through the formal and emotional elements present in Jean Ahn holds a Ph.D. from the University of California, Berkeley and a M.A. and B.A. from the piece. In this composition, long and expansive melodic phrases breathe one Seoul National University. Her compositions have been featured at Aspen Music Festival, into the next, coupled with throbbing left-hand pizzicato. The metamorphosis of American Composers Orchestra’s Ear Shot (by Memphis Symphony), June in Buffalo, Oregon left-hand pizzicato over the course of the work is balanced with the on-going Bach Festival, Festival of Contemporary Music, IAWM and Pacific Korean Music Festival, timbre variation and motivic development of the melody heard at the beginning of among others. the piece. In the final section, the opening melody is further transformed, culminating in a dramatic contrapuntal stretto. Commissions include works for the Leftcoast Chamber Ensemble, Gayaguem Soloist JUL, Volti Chamber Choir, Duo Camaraderie, Locrian Chamber Players, and the Pianissimo among others. She is currently working on “Folksong Revisit”, a collection of Korean folksong for Alondra Vega-Zaldivar professional singers. She is currently a Lecturer and an assistant choral director at UC Berkeley. Alondra Vega-Zaldivar recently obtained her MMus in Composition at the University of She is also the director of Ensemble Ari. www.jeanahn.com Western Ontario under the supervision of Canadian Composer Omar Daniel with her Thesis Sophie, a one act Music Drama for solo soprano and chamber orchestra. Drip In 2014 Alondra’s String Quartet Lyra was premiered at Orford, Quebec by the 2014 Water disperses as if sound drops. The drip of a water is a sound that drips. It is String Quartet from the Creation Workshop in July; her piece Luna for Soprano, Cello and the initiation, it is the bang. Piano, was performed in Milna, Croatia by participants of the UpBeat Music Festival in August; and Rise of the Cuban Cicadas for Harp and Percussion was premiered by Sanya Eng and Ryan Scott in Toronto on September. On October, Alondra organized the Composition Student Stephanie Bauer Concert at the University and her piece Midnight Feast was read by the ECM+ ensemble in My current body of work is influenced by the process of deconstruction. After a shattering November. disclosure that left me untethered and isolated, I starting writing in unreadable streams of consciousness, with pen in journals then with brush on canvas. This process allowed me to Last summer Alondra participated in Composition Summer Intensive in South Bend, deconstruct the situation and reduce the quagmire resulting from deep betrayal into something Indiana and her piece A Haunted Tableau for Soprano and Piano was premiered in Halifax. exploratory. This year Alondra was selected a finalist for the Costello Composition Prize organized by the Lyra Society organization. The visual rhythm, symmetry and resulting patterning of the writing inspired me to explore the tension between exposure versus subversion. I started to paint in thin layers over the writing. Motion The paint would drip and run and mingle with the written words and start to obscure them. The Motion is a piece for solo cello that plays with the idea of how a small push can horizontal nature of the writing would push the painting towards a landscape and I found myself set big changes into motion. exploring the idea of landscape deconstructed to its most basic elements. It takes a single drop of water for a stream to break free and become a river; for I work on a dozen or more paintings at a time in various stages. I write madly on fresh canvas, the river to rush over a waterfall running and pushing the landscape around it; draw pictures, explore patterns and color relationships until a landscape starts to emerge. I then transforming the earth. follow and develop the image until I achieve a balance between the chaos of the written word Until the water slows down again and reaches a peaceful point of rest, waiting for beneath, the riot of paint and color, and a sense of peace. another small drop of rain. it seems like peace/swim in peace My work is influenced by the process of deconstruction. After a shattering disclosure that left me isolated, I starting writing in unreadable streams of consciousness. This process allowed me to deconstruct the situation and reduce the resulting quagmire into something exploratory. The resulting patterning of the writing inspired me to explore the tension between exposure versus subversion. I painted in thin layers over the writing. The horizontal nature of the writing would push the painting towards a landscape and I found myself exploring the idea of Lindsey Shoeneman landscapes and waterscapes deconstructed to their most basic elements. I work on With a background in mental health counseling and art therapy, I approach art-making from a a dozen or more paintings at a time in various stages. I write madly on fresh psychological and emotional space, tapping deeply into intuition. My work embodies an canvas, draw pictures, explore patterns and color relationships until a landscape existential and meditative sensibility that reflects dynamic quietude, summoning the viewer to go starts to emerge. I then follow and develop the image until I achieve a balance inward and at once experience depth, expansiveness, and the whisper of mystery. Rooted in the between the chaos of the written word beneath, the riot of paint and color, and a Pacific Northwest, I find myself ceaselessly inspired by the beauty of our Earth, and find that sense of peace. nature-based imagery spontaneously emerges as I create.

I want(ed) a tangled ocean with you Reenie Charriere These paintings are part of a larger body of work in which I painted without a pre- Reenie Charrière received her MFA in 2009 from Maine College of Art in Portland, Maine. She destined image in mind. The water-based imagery emerged spontaneously and currently resides in Oakland, California. Her work addresses environmental issues exposing the intuitively during a time when I was experiencing significant life transitions. The natural beauty as well as the synthetic troubles all around us, and actively considers the physical existence of water is necessary for life, but humans are meaning-making consequences of our human conditions. beings, and so water also takes on symbolic meanings that occupy psychological and emotional spaces. Water is a dynamic force that inspires fear and awesome Reenie has received numerous grants including 2 Foundation for Contemporary Arts Grant in wonder—both psychological portals to the unknown. In my work, the water flows 2015,and 2011, and a Roderick Dew Travel Grant in 2008, as well as funded residencies by the vigorously, embodying both the chaos and the cleansing that accompanies La Napoule Art Foundation in France, 2012-14, SF MOMA, 2013, Arts Benicia, 2014, and change; movement is necessary here—chaotic waves stirring up, indiscriminately, Vermont Studio, 2011. Her work has been exhibited in venues internationally, as well as all over everything they meet, sometimes drowning in emotions but also allowing what the United States. was buried deep rise to the surface. The forward flow of the water cleanses, www.reeniecharriere.com offering opportunity for newness and growth.

Splash Water has always been a refuge for me. The ocean, waterfalls, rivers, rain, Suzanne Sorkin showers, and icicles, are what I count on. Currently I live in Oakland, California Suzanne Sorkin (b. 1974) is active as a composer and educator. She has received awards and where there is not enough rain, and water is on our minds. Splash is a site-specific commissions from the Fromm Music Foundation at Harvard University, Chamber Music Now, waterfall column created with rainwater, and plastic shards that I have collected Violin Futura, Third Millennium Ensemble, counter)induction, ASCAP, Meet the Composer and from waterways all over the world. The dimensions are variable and I will others. Her work has been programmed on Piano Spheres in Los Angeles, Washington Square recreate the piece to fit the space. Plastic does not belong in our waterways, and in Contemporary Music Society in New York City, Denison University New Music Festival, this exaggerated form, we can actually see the variety of plastic that washes up in Chamber Music Quad Cities, Florida State University Festival of New Music, and Vassar our waterways. Modfest. She has written for ensembles including Melomanie, Mannes Trio, Cabrini Quartet, Cleveland Chamber Symphony, Third Angle, and Aspen Contemporary Ensemble. Residencies My practice is triggered by expeditions along everyday paths, and sidewalks, awarded to her include Millay Colony for the Arts, Virginia Center for the Creative Arts, including public waterways and shorelines. Ragdale Foundation, Artists’ Enclave at I-Park, ART342, Brush Creek, Kimmel Harding Nelson Center, and Atlantic Center for the Arts. She received her Ph.D. in music composition from the I investigate by walking, driving, and even waiting in traffic, and I am captivated University of Chicago through the support of a four-year Century Fellowship in the Humanities. by what accumulates in the environment. Detritus is a menacing punctuation. It Suzanne Sorkin has taught music composition, theory, and music history at Vassar College. She comes in all colors and forms. I am also drawn to these colors, and their forms, as is currently an Associate Professor of Music at Saint Joseph’s University in Philadelphia, where well as the juxtaposition between organic and synthetic matter. My choice of she teaches music composition and theory and serves as chair of the Department of Music, materials reflects a collision of clumsiness, and grace and questions how Theatre and Film. consumerism drives the world. Toward the Other Shore Robert Fleisher In Mahayana Buddhism, the six paramitas (generosity, discipline, patience, Robert Fleisher attended the High School of Music and Art in New York City, graduated with diligence, meditation, and knowledge) are six kinds of virtuous practice required honors from the University of Colorado at Boulder, and earned his M.M. and D.M.A. degrees in for serving others and achieving enlightenment. In Sanskrit, paramita means “that composition at the University of Illinois at Urbana-Champaign (UIUC). The recipient of seven which has reached the other shore”. Paramita can also be translated as Adrift Illinois Arts Council grants, his work has also received support from the Ruttenberg Arts “Dare to come near me and I will swallow your ship.” Foundation, the National Endowment for the Humanities, and through resident fellowships at the Love, Hambidge Center for the Creative Arts and Sciences, Millay Colony for the Arts, Mishkenot The Kraken Sha’ananim, Montalvo Center for the Arts, Virginia Center for the Creative Arts, and Yaddo. P.S. Thanks for the dinner. Author of Twenty Israeli Composers (1997), Dr. Fleisher is also a contributing composer and essayist in Theresa Sauer’s collection of new music scores, Notations 21 (2009). He has served on the faculties of the UIUC (1978-1980), UCLA (1980-1982), and Northern Illinois University J. Pouwels (1983-2014), where he is Professor Emeritus. Born in Invercargill New Zealand. J received a Masters Degree in Fine Art in 2004 from Miami University in Painting and Drawing. He is currently living and working in Chico, CA. Fleisher’s chamber music been described as “eloquent” (Ann Arbor News), “lovely and IT IS MY GOAL TO SYNTHESIZE (to combine constituent elements into a singular unified emotional” (Toronto Musicworks), “astoundingly attractive” (Perspectives of New Music), and entity) THE EXPERIENCES (the fact of personally observing, encountering or undergoing of “ingenious” (Strad); his electro-acoustic music as “rich, tactile” and “endearingly low-tech” things generally as they occur in the course of time) THAT MAKE TIME SPENT IN A GIVEN (New York Times). His works have been heard globally, with more than 70 performances and PLACE (a space, area or spot, set apart or used for a particular purpose) UNIQUE (limited to a broadcasts of a dozen works in 10 countries since 2010. In 2016, these included performances of single outcome or result; without alternative possibilities). three electro-acoustic works (in Brooklyn, NY; Tuscaloosa, AL; Ann Arbor, MI; and Leuk, Switzerland), and the premiere of his Five Pieces for Flute and Percussion (at Northern Illinois Dysfunctional Infrastructure University). His music appears on Capstone, Centaur, Navona and SEAMUS labels. As a New Zealander, a close relationship with water has been a pivotal part of our culture and is responsible for our security and isolation, as well as our identity. A Ma mère strong relationship with the ocean is found throughout the nation: in the weather, This "fantasy-reconstruction" of the second movement cello part(s) from smells, foods, imagery, myths, history. I often play with water/island symbolism Debussy’s La mer, is dedicated to my mother Doris (1917-2010), a bona fide to define the tenuous connection I maintain with my historic culture, as I plot my Aquarius who always loved being near (and in) the water. At the age of 3, her way through a newer one. Living away from the ocean in the massive landscape father bought a vacation home on Fire Island—a roughly 30-mile-long sandbar on of the United States has had a profound effect on my self-awareness. In the the south shore of Long Island, NY, sandwiched between the Great South Bay imagery I use I refer not only to social isolation but also one that is geographical, and the Atlantic Ocean. She maintained a residence there most of her life, like unfamiliar dialects, landmarks or customs. enjoying the sea, sand, and sun with her husband Maurice and their three children. Though Debussy's landmark orchestral work is almost exclusively the basis for Since moving to Chico, one of the agricultural heartlands of California, I have this solo composition, Rimsky-Korsakov's Scheherazade and Berg's Violin been interested in the management of our valuable water resources. In part, this Concerto appear in cameo roles. Ma mère was commissioned by Elizabeth has led me to a body of work called Dysfunctional Systems, a series of ink Morrow (University of Texas, Arlington), who premiered it in 2004. Most drawings that bring me back to my close relationship with the ocean, as I imagine recently, in 2015, it was performed at Weill/Carnegie Recital Hall in New York the water tower as a kind of inverted, or landlocked island. City by Ovidiu Marinescu, who may also be heard performing the work on the CD, Moto Continuo (Navona Records), featuring Trio Casals. But I also see them as a series of misguided structures built on concepts that are basically corrupted, ill-informed or woefully mismanaged. Focusing on the Right To Water as a theme, and pandering to my personal connection to the ocean, they Yotam Haber reflect our alarming situation regarding the balance between a need for water and His music hailed by New Yorker critic Alex Ross as “deeply haunting,” by the Los Angeles its clean, uninterrupted supply. The Flint, Michigan water crisis is only a recent Times as one of five classical musicians "2014 Faces To Watch," and chosen as one of the “30 example of our rising problems with water management as the climate changes. composers under 40” by Orpheus Chamber Orchestra’s Project 440, Yotam Haber was born in While I use water related imagery and symbolism in my paintings and drawings, I Holland and grew up in Israel, Nigeria, and Milwaukee. He is the recipient of a 2013 Fromm am currently engaged in building water towers out of found cardboard. These Music Foundation commission, a 2013 NYFA award, the 2007 Rome Prize and a 2005 John towers represent our struggles with clean easily accessible water, detreating Simon Guggenheim Memorial Foundation Fellowship. He has received grants and fellowships infrastructure and an over reliance on consumerism without sufficient concern for from New Music USA, the New York Foundation for the Arts, the Jerome Foundation, the the impact on resources and the planet. Bellagio Rockefeller Foundation, Yaddo, Bogliasco, MacDowell Colony, the Hermitage, ASCAP, and the Copland House. Recent commissions include works for Pritzker Prize-winning architect Peter Zumthor; an evening-length oratorio for the Alabama Symphony Orchestra, CalARTS@REDCAT/Disney Hall (Los Angeles); The Louisiana Philharmonic Orchestra; New Leonie Roessler York-based Contemporaneous, Gabriel Kahane, Either/Or, and Alarm Will Sound; the 2015 New Born in the Ruhr District (Ruhrgebiet) in Germany, Leonie relocated to Los Angeles as a York Philharmonic CONTACT! Series; the 2012 & 2014 Venice Biennale; 2012 Bang on a Can teenager. She studied classical guitar at Los Angeles City College, and received a Bachelor Summer Festival; the Neuvocalsolisten Stuttgart and ensemble l’arsenale; FLUX Quartet, JACK Degree in Composition along with a Minor in Dance Performance at California State University Quartet, Cantori New York, the Tel Aviv-based Meitar Ensemble, and the Berlin-based Quartet Northridge in 2010. She moved to the Netherlands and earned her Master Degree in New Generation. Composition at the Royal Conservatory of The Hague in 2013. She completed a one-year course at the Institute of Sonology thereafter and is currently finishing the fourth and last year of the He is currently working on Voice Imitator, an evening-length cycle of piano works with visual Contemporary Music Through Non-Western Techniques Program at the Conservatory of artist and MacArthur Fellow Anna Schuleit Haber, based on the stories of Thomas Bernhard; Amsterdam. She is active as a performer, composer, and sound artist in various countries and New Water Music, an interactive work (premiering 2017) for the Louisiana Philharmonic and places nearby, but essentially lives with her five-year-old son in the center of The Hague. community musicians to be performed from boats and barges along Bayou St. John in New Orleans; and a new work for the Kronos Quartet in collaboration with the electronic performer Harbor Philip White. "Harbor" is an installation piece out of my current series "Stop and Listen, The Hague". I recorded all the sounds shortly after seven in the morning at the Harbor Haber is Assistant Professor of Music at the University of New Orleans and Artistic Director in The Hague. (My field recording equipment and I were luckily allowed to enter Emeritus of MATA, the non-profit organization founded by Philip Glass that has, since 1996, the work zone off-limits to the general public.) Amazed by the bustle, the large been dedicated to commissioning and presenting new works by young composers from around ships preparing to leave, the men at work, cranes lifting things, engines starting, the world. His music is published by RAI Trade. ships being fixed and heavy machinery at work, I zoomed in on sounds and activities and was lost in time and space. My amazement and the adrenaline felt Purity Guaranteed while immersed in this rich aural environment, however did not dampen the Growing up in a family still deeply wounded by the memory-scars of Nazi sensation that all this activity was detrimental to our existence at the same time. persecution during WWII, there is a certain reaction that happens every time I Puddles of oil reflecting on the water, trash and debris floating... What an encounter certain words, no matter their context. There is a split second of unease exceptional species we are, able to spend time on land and sea, building ships and while instantaneous connections fire off unwanted scenes through my mind, cranes - and (knowingly) destroying this very element we need for our survival before realizing that there is nothing there, no need to worry. while doing so.

The title originates from the label on a bottle of mineral water sitting on my work desk. Water, the most benevolent of molecules, took on ugly overtones for a Nina Shekhar moment. Water has been a great inspiration to many composers and artists, Nina Shekhar (b. 1995) is currently a rising senior at the University of Michigan pursuing a B.M. though Claude Debussy and the painter J.M.W. Turner both relied only on in Music Composition and a B.S.E. in Chemical Engineering. Her works have been featured in memories to create their works, rather than literal “photographic” representations. the National Flute Association Convention, the Bowdoin International Music Festival, the I, too, was not attempting to evoke wateriness, but more its psychologically Midwest Composers Symposium, and in the Detroit REVIVAL Project in collaboration with impassive, dangerous, unrelenting power. Detroit-based dance troupe ArtLab J. Nina is a recipient of the 2015 ASCAP Morton Gould This is a constantly shifting power, sometimes shimmering, sometimes somber, Young Composer Award. but always moving; creating and destroying in its path. Aside from composing, Nina is a versatile performing artist. As a flutist, she currently studies with Amy Porter and previously with Holly Clemans. Last year, Nina performed in a masterclass Teresa Leung given by Flutronix, a cutting-edge New York-based ensemble that incorporates electronics into Born and living in Hong Kong, Teresa Leung exhibited her works previously in Armenia, Brazil, contemporary classical music. As a pianist, she has performed in the Poland International Piano Bulgaria, France, Germany, Hong Kong, Sao Paulo, Slovenia, Spain, Turkey, the UK, and the Festival as a soloist with the Lublin Philharmonic and studied under Tomoko Mack-Brzozowski US. She was awarded a project grant for participation in an artist-in-residence program in South and previously Brenda Krachenberg. Nina was selected to perform in the Detroit International Caucasus countries Armenia and Karabakh during Sep-Dec 2015 by the Hong Kong Arts Jazz Festival with her jazz band in 2012 and 2013 as lead alto saxophonist. Development Council. She was also one of the 40 finalists selected from more than 3,100 entries Nina currently studies with Bright Sheng and has previously studied with Evan Chambers, in the Contemporary Talents 2012 competition organized by the Fondation Francois Schneider in Kristin Kuster, and James Hartway. She is a native of Northville, Michigan. France. Teresa’s interested in the possibilities of urban non-places, art-as-an-experience, and urban development and transformation in post-soviet countries such as those in South Caucasus, Her works appear on Innova, , Starkland, Asphodel, New World (CRI), Root which led her to join artist-in-residence programs in Armenia’s capital city Yerevan in both 2014 Strata, Centaur, Ubuibi, MMC, Digital Narcis, Music and Arts, Frog Peak, and/OAR, Capstone, and 2015. She graduated from the MA in Fine Arts program at the Chinese University of Hong and labels. Kong in 2011. www.maggipayne.com I have a meal at Quarry Bay harbor front Through the Looking Glass As an urban dweller, I am intrigued by the lack of open space and open space that I’ve always been fascinated by water patterns, explored in this video through the were not originally designed for use by individuals. I am particularly curious looking glass of a camera lens which takes me closer or farther than I can reach about spaces of non-places—non-relational, non-historical, non-identity related, while standing on shore, wading, swimming, or paddling a canoe. The and built for transit purpose in French anthropologist Marc Augé’s definition. magnification that the lens provides allows me to capture what I can’t observe Alone or with others, I love to venture into non-places—the harbor front in with my own eyes due to physical obstructions, capabilities, or disruptions in the particular, privatize them temporarily and do things that people usually do at patterns that adding my body to the water creates. The patterns are illusive, home, aiming to negotiate the space and functions of non-places and share with changing in an instant due to variations in wind, light, currents, distance, and/or others my experiences of them. camera angle. While water tends to draw people to gather and enjoy, most of the Victoria I wanted to capture patterns of rainfall, but the severe drought of 2015 in the San Harbor front is distant, barring people from staying long. Despite its not too Francisco Bay Area prevented it, so the focus turned to bodies of water. Point attractive look, the harbor front near Java Road under the Eastern Corridor offers Reyes’ Tomales Bay, Walker Creek, and North Beach, the ocean at Oxnard, relatively easy access without barriers such as railings. Setting up a table and Briones Reservoir, Petaluma River, and the bay’s harbors and surrounding areas having a meal there is my attempt to negotiate the space and functions of harbor became the primary sources. front space—something can actualize as an urban dweller.

The sounds I wished to hear in these locations were very delicate and were overwhelmed by sounds of helicopters, motorcycles, trucks, cars, trains, BART, Philip Mantione and constant planes. I transformed the sounds of these and other human generated Philip Mantione is a Los Angeles-based sound artist, composer, sound designer, guitarist, sounds into sounds that reflected the “natural” environment that I captured on computer musician, educator and multimedia artist whose career spans over two decades. His video. The images are just as they were captured, without processing. work includes music for orchestra, various chamber ensembles, computer, fixed media, interactive performance, multimedia and sound installation, and experimental video. He writes custom software to meld field recordings, samples and computer generated sounds into unique Eva Redamonti sonic textures. Mantione is the recipient of two Meet the Composer grants and a recent Eva is an artist who depicts drawings that blend realism with fantasy, through movement and commission from New Music USA. Complete details and list of work at philipmantione.com precision, using india ink on paper. Her mother, also an artist, taught her how to draw from her early childhood. Music has also had a great influence on Eva’s artwork. She uses it as a strong Valuri source of inspiration for her ideas and relies on it’s affect towards her art’s overall movement. Valuri is a sonic world that explores the notion of becoming. There is continual Eva had been playing music since she was ten and began writing her own music later on in her movement, roving the gray between black and white. As with a body of water, career. Born and raised in Connecticut, Eva went on to pursue a degree in music composition at subtle movement can be perceived as static, yet stasis can be in perpetual motion. Berklee College of Music in Boston, MA during Fall 2013. Finding the balance between the Within this unresolved texture we are free to unburden ourselves from the need to visual arts and her musical studies was a struggle during her time in school. She recently felt it have a destination and to appreciate each successive moment as they unfold. The was time to begin working on a series that gives its best representation to her new developed piece was written using custom software written in Max/MSP that generates style and vision. several waveforms activated by randomly determined amplitude envelopes using logarithmic, exponential and linear slopes and varying time domains. Parametric Cats in the Tub frequency ranges and panning algorithms create a slowing changing sonority that For me, water holds a lot of room for artistic expression, visually and musically. never repeats. My latest series was based off the concept of bathtubs, and within this theme I played with the concept of water. The ideas were limitless - bubbles, fish, the The title comes from the Romanian word for “waves” and is an homage to Iannis movement of water within the tub. The artwork I am submitting comes from this Xenakis, whose textural approach to composition has been an ongoing source of series, and all pieces are 14 x 17 inches, India ink on paper. inspiration. Joshua Marquez Dana O’Malley

Joshua Marquez (b. 1990) is a Filipino-American composer whose music explores the spectrum Dana O'Malley is a visual artist based in Wilmington, NC. Her work has been exhibited in Iowa, between tone and noise through the examination of timbral subtleties. Hailed as "cutting-edge" Minnesota, New Jersey, and Rhode Island. She holds an MFA in Painting from the University of (The Gazette) and "haunting" (The Daily Iowan), the juxtaposition and fusion of his unique Iowa. Her narrative paintings investigate the dichotomies and tender binaries of our cultural timbres represent the alienation and assimilation of being an Asian-American in the 21st landscape, through representations of partnership, touch, consumption, environmental collapse, Century. and growth.

Marquez's music has been performed and recorded, internationally, by ensembles and musicians Nightlight I, II such as the JACK Quartet, Carmine Marcello Rizzi (violin), Iwona Glinka (flute), Akropolis From hot pink screensaver sunsets, to tumbling avalanches on YouTube, to the neighborhoods Reed Quintet, Stony Brook Contemporary Chamber Players, University of Iowa Center for New we live in (and don’t), our perceptions of Earth can be influenced by many factors, including: Music, Fresno State New Music Ensemble, Gate City Camerata, Quintet Sirocco, and the Cape age, economics, software, social media, and social bias. Fear Wind Symphony. Today, as a young woman, I can’t help but feel afraid by what lies ahead. When I choose to Recent performances include the New York City Festival (NYC), the have children, into what kind of world will they be born? How will my Brown partner be National Student Event (GA), Birmingham New Music Festival (AL), Brave treated? Night Light I, II explores the ecological voyeurism and perhaps necessary Romanticism New Works (CA), Indiana State University New Music Festival (IN), SCI Concerts, Stony – in addition to the unapologetic representation of the female body – in today’s uncertain Brook Premieres! (NYC), Circuit Bridges (NYC), and the International Ferienkruse für Neue landscape. How much our lives do we need to Photoshop, to be heard? Musik Darmstadt in venues such as Symphony Space (NYC), Abron Arts Center (NYC), the Englert Theatre (IA), Georgia Southern University (GA), Weatherspoon Art Museum (NC), the Figuration and abstraction hover together to embody the female form through solvent-laden Canada International Film Festival, and the Utopia Film Festival (MD), among others. glazes and thick impastos. A young woman’s lantern, connected to an unknown power source, Marquez's paper, “Deep Structures of Pitch Usage in Humpback Whale Song”, was accepted to lights up a magical beach scene. A plastic ocean is quiet. A sea turtle lays eggs in the sand. the 2015 Humpback Whale World Congress in Sainte-Marie, Madagascar. Recordings of Round, white turtle eggs collapse into spatial ambiguity. The women’s legs are crossed; her sex, Marquez's music have been released by RMN Classical Records (UK), Sarton Records (PL), and cut-off the paper. A quiet protest. Small turtle hatchings crawl towards a dark unknown. E.M.P.i.R.E.S Records (USA).

Marquez holds a PhD from the University of Iowa in addition to degrees from the University of Maggi Payne North Carolina at Greensboro (MM), and Campbell University (BA). Joshua is currently the Maggi Payne composes music for concert presentation, video, and dance, and is a video artist, Artistic Director for the interdisciplinary arts nonprofit, GRIT Collaborative. Marquez serves as photographer, recording engineer, and Co-Director of the Center for Contemporary Music at a Resident Composer for the Saint Mary's Summer Composition Intensive in Notre Dame, IN Mills College, in the San Francisco Bay Area, where she teaches composition/media, electronic (2013-present), having previously taught at the University of Iowa and the Preucil School of music, and recording engineering. Music. Her video works have been presented in the Americas, Europe, Japan, and Australasia. She He has studied with Josh Levine, David Gompper, Mark Engebretson, and Alejandro Rutty in received Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment addition to private studies with Samuel Adler, Derek Bermel, Michael Harrison, Laura for the Arts; video grants from the Mellon Foundation and the Western States Regional Media Kaminsky, David Lang, and Augusta Read Thomas. Arts Fellowships Program; and honorary mentions from Concours International de Musique et d’Art Sonore Electroacoustiques de Bourges and Prix Ars Electronica. Slough Through the process of degradation, Slough transforms into different states Her video Liquid Amber won the Amsterdam Video Festival Van Gogh Award: Best through changes in texture, articulation, character, etc... Transient emphasis and Environmental Film; the El Capitan Film Award, Environmental/Mountain Film Competition, greater use of noise elements disintegrate the material, over time, in tandem with 2009 Yosemite Film Festival; tied for third prize in the Experimental category of the Athens further destruction of the spectra. Timbre is the primary developmental element International Film + Video Festival Competition, Athens, OH; and received an Honorary in Slough. The extreme contrasts, throughout, are representational of the chunky Mention, 35th Concours Internationaux de Musique et d’Art Sonore Electroacoustiques de shedding that is associated with the word "slough". The slower, more stagnant Bourges in the works for multimedia category sections are reminiscent of a (wetland) “slough”.